Memory Connection Volume 1 Number 1 © 2011 The Memory Waka Connecting with Tragedy Through Landscapes of Memory: Memorial Design, Tourism, and the Post- Genocide Memoryscapes of Cambodia, Rwanda, and Germany Shannon Davis and Jacky Bowring
Memory ConnectionVolume 1 Number 1© 2011 The Memory Waka
Connecting with Tragedy Through Landscapes of Memory: Memorial Design, Tourism, and the Post-Genocide Memoryscapes of Cambodia, Rwanda, and Germany
Shannon Davis and Jacky Bowring
Memory ConnectionVolume 1 Number 1© 2011 The Memory Waka
377
Connecting with Tragedy Through Landscapes of Memory: Memorial Design, Tourism, and the Post-Genocide Memoryscapes of Cambodia, Rwanda, and Germany
Shannon Davis and Jacky Bowring
Abstract
In recent years the act and practice of memorialisation has become increasingly
complex due to the influence of globalisation. As the world grows ever smaller,
the opportunities offered to us to engage the international memoryscape are
many and far-reaching. Memoryscapes—memorial landscapes—are today infused
by the tension between local needs and global expectations, offering highly
concentrated places in which to investigate the physical expression of memory.
Multiple pressures (both internal and global)—including the demands of time,
religion, politics, and economics—dictate both the form and narrative expressed
by memorials in post-genocide societies. With growing tourist industries,
countries emerging from regimes of genocide (such as Cambodia and Rwanda)
are today engaging the international visitor through their memoryscapes
of genocide. This article explores the post-genocide memoryscapes of Germany,
Cambodia, and Rwanda, investigating their ability through memorial form
(representational or non-representational), to “connect” international visitors
with foreign “memory”—a type of memory with which they may have little
previous association.
Keywords: memory, memorial, genocide, design, interpretation
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Introduction
Western nations are today loaded with symbolic sites, dates, and events that
provide a kind of social continuity that contributes to a collectively shared
memory, and establishes spatial and temporal reference points within societal
groups.1 In recent years, the critical view of memorialisation has become
increasingly complex, in part due to the influence of globalisation. Architect, Peter
Tonkin, and artist, Janet Laurence, state that in the twenty-first century: “We are in
the midst of a worldwide obsession with memorializing that has been unequalled
since the age of the dictators”.2 Monuments, history museums, memorial museums,
public sculptures, grave-yards, commemorative sites, and memorial landscapes
are created and dedicated to people, places, and events. At an unrivalled moment
in history, spaces dedicated to the memory of the past are found throughout the
world, and seem increasingly to commemorate a past involving mass death.
Historically, individual nations have held sets of meanings and interpretations
in relation to their past which were developed into memorials and commemorative
spaces to reinforce peoples’ identification with specific social values. In doing
so, they create a collective national identity.3 “Globalisation”, has, however, led
to an increased interconnectedness amongst the world’s populations. As William
Wishard suggests, globalisation is far more than non-Western nations adopting free
markets and democratic political systems: “At its core, [globalisation] means that
the full scope of western ideas and modes of living are gradually seeping into the
fabric of the world.”4
The influence of globalisation, and under particular consideration here, of
“Westernisation”, is clear in the expression of public memory of genocide in
Cambodia and Rwanda. For example, Serge Thion states that the paradigm of
genocide for the West is still very much centred on the Holocaust: “Jews and
Khmers do not mourn and bury the dead in the same way and there is a risk
that our Western concept of ‘memory’ could be entirely irrelevant to the Khmers
who obviously have their own.”5 Tourism today allows for, and supports, the
permeability of our world that globalisation has provided, creating a globe that is
fully accessible to those who have the will and means to explore it. It has become
clear that tourist interest in recent world tragedies is a growing phenomenon in the
twenty-first century.6
Memorialisation, and the form that memory takes, is understood within
contemporary thought as being unbounded in its expression. From its readily
understood and widely accepted expression—through art, music, theatre, literature,
sculpture, and architecture, to spatial or experiential places, to the less tangible
expressions through the creation of national holidays, appearance on currency,
or even an official judicial decision—memorialisation occurs in many forms. The
social act of memorialisation, and the physical embodiment of memory in the
landscape, as particularly considered here, sees “tragedy” today investigated as
a genre of design. This is a category of design that explores and expresses it in
both tangible and intangible forms to meet the many needs and expectations of
Connecting with Tragedy Through Landscapes of Memory: Memorial Design, Tourism, and the Post-Genocide Memoryscapes of Cambodia, Rwanda, and Germany — Shannon Davis and Jacky Bowring
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those involved. From built, spatial, and visual form to symbolic, experiential, or
abstract form, the expression of tragedy in our landscape today demands a broader
perspective than has been experienced in history: “The romantics thought that
memory bound us in a deep sense of the past, associated with melancholia, but
today we think of memory as a mode of re-presentation, and as belonging ever
more to the present.”7
Considered in this way, the act of interpretation therefore sees memorials
become as much about the present as they are the past. This article investigates
the development of the post-genocide memoryscapes of Cambodia and Rwanda
in relation to the evolution and development of the German memorial landscape.
It also explores how sites of genocide memorialisation in these countries—sites
within a history, culture, and place with which many visitors have little previous
personal association—attempt to “connect” the international tourist with tragic
history through memorial form and their landscapes of memory.
Design interpretation
It has long been accepted that architecture and landscapes possess “meaning”; to
be more than mere structure or space.8 It is also held that the creation of meaning
within a site is not just about the intended meaning stated by the designer at
conception, but that it is created and recreated with every individual experience.
Design interpretation opens a project to the wider world, to a larger community,
changing and relating to cultural and societal difference throughout time.9
As Juan Bonta states, “Interpretations—like forms themselves—fulfil a cultural,
historically conditioned role. We interpret buildings in certain ways because in
so doing we can throw some light upon aspects of the world in which we live.”10
We interpret memorials, built or otherwise, for similar reasons—to elucidate in
the present, a part of our world for which an expression of memory has been
communicated. Coupled with the act of interpretation is the notion of “pre-
understanding”, a concept introduced by Martin Heidegger. According to him, this
concept acknowledges the fore-structure of how we see and understand things, the
cultural historicality we bring with us unreflectively to a reading or act, in this case
the act of memorial interpretation.11
It could be said, therefore, that the practice of design interpretation becomes
more relevant than the design or creation of form itself. The ability of a
memorial to “connect” with people and create meaning stands in its ability to be
interpreted—to speak to the group or individual through time. Germany, and its
treatment of memorialisation during the post-Holocaust period, today provides an
example from which memorial development and the opportunity for interpretation
can be considered, acting here also as a base from which these can be analysed in
Cambodia and Rwanda.
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Creating a memoryscape of genocide–representation and the interpretation of memory through design
In its function as a political tool within post-conflict societies, memorialisation
can be used as a form of social remembering and forgetting, often selecting and
distorting memory to serve present needs. Today the German memoryscapes of
genocide illustrate a progression of time, politics, and societal needs, depicted
clearly through the creation, design, and development of an extensive landscape of
memorial sites. From the preservation of concentration and extermination camps
(such as the Sachsenhausen Memorial and Museum), to Jochen Gerz and Esther
Shalev-Gerz’s anti-memorial, Monument against Fascism, and Peter Eisenman’s
Memorial to the Murdered Jews of Europe, Germany has confronted Holocaust
memory and its physical expression in many ways over the last 60 years.
While athletes and visitors from all over the world were participating in the
1936 Berlin Olympics, just 20 kilometres north the Sachsenhausen concentration
camp was being expanded and developed to serve the Reich capital (Figure 1).
Sachsenhausen was a “preventative detention camp” to which the Gestapo took
people it regarded as political enemies of the National Socialist regime, and those
it persecuted for social, biological, or racial reasons.12 Of the more than 200,000
inmates held at the camp between 1934 and 1945, tens of thousands died as a
result of extreme physical abuse, malnutrition, disease, execution, and medical
murder. The second chapter in the history of Sachsenhausen began soon after
the camp’s liberation in August 1945, when the Soviet Secret Service moved
its “Special Camp No. 7” to Sachsenhausen where those who had held official
positions in the Nazi state were imprisoned. Remaining operational until 1950,
12,000 prisoners are believed to have died during these five years under
Soviet control.13
Figure 1. Sachsenhausen
Concentration Camp,
Oranienburg, Germany. Photo
by author (2007).
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The Sachsenhausen National Memorial was erected by the German Democratic
Republic (1961-1990). During this time its past as a camp run by the Soviet Secret
Service was concealed. The official interpretation of the memorial “was to serve
solely as a reminder of the concentration camp”.14 The part played by the Soviet
Union in the military downfall of the National Socialists was the central idea
expressed by the memorial site’s culture of remembrance.
The memorial constructed at the centre of the site, titled Tower of Nations
(Figure 2), was the central memorial and emblem of the Sachsenhausen National
Memorial during this time. Eighteen red triangles mounted on the obelisk-like
structure represent the prisoners’ main countries of origin in remembrance of
the camp’s political and foreign prisoners. The memorial was designed to make
a heroic statement of the communist resistance in Europe, a concept made
particularly clear by Rene Graetz’s sculpture, Liberation, that sits in front of the
tower and which depicts two liberated prisoners standing next to a Red Army
soldier. Jutta Dommaschk states: “The historical topography was transformed by
the systematic re-organisation of the site and its conversion into a monumental
glorification of the defeat of SS rule”.15
For the Sachsenhausen memorial, like many spaces of public memory created
during this time in Germany, leaders of the German Democratic Republic were
primarily interested in representing “historical policy” and not in preserving
the traces of history. As a result, the demolition and elimination of some
“specific” history occurred, and entire groups of victims were disregarded and
actively forgotten. After the reunification of Germany in 1990, the memorial at
Sachsenhausen became the Sachsenhausen Memorial and Museum and today
houses a series of permanent exhibitions which cover a “more complete” history of
the camp from 1936-1957.
Figure 2. Tower of Nations,
with sculpture, Liberation, in
front, Sachsenhausen
Memorial and Museum,
Orenianburg, Germany.
Photo by author (2007).
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The importance of retaining these concentration and extermination camp
memorials throughout Europe is because they are spaces to experience the actual
place of suffering, to provide a place to mourn, and to learn about the specific
history. Like many memorial sites within Germany, Sachsenhausen today stands as
a “representational” memorial dedicated to the preservation and documentation of
first-hand evidence. By the 1990s, however, the discussion over how to remember
Europe’s murdered Jewish community intensified, and a new national memorial
was proposed. In 2005, Eisenman’s Memorial to the Murdered Jews of Europe was
officially dedicated. Unlike the representational, didactic Sachsenhasuen memorial,
it offers an expression of genocide memory within a “non-representational”
abstract form.
Covering an inner-city block, the memorial is surrounded on three sides by
busy city streets, and is, on the ground plane, a topography of 2,711 concrete stelae
(Figure 3). Astrid Schmeing observes its effect on memory construction:
It is not a representation of memory so much as it is part of memory. It is an
unconventional memorial that does not suggest how to remember. A conventional
memorial would perhaps provide a figure to be ‘looked at’. The figurative object,
witnessed by the observer’s external perspective, would provide a sense of wholeness
of ‘completion’, which would suggest ‘how to remember’. This memorial, however,
refuses to do so. There is no figure, and one does not even face an ‘object’. Instead,
the individual moves within and inside the components of the memorial. One’s
body becomes involved as a part of it, and the memorial is only complete when
faced by each, single participating observer. Any form of memory transported to it
by the observer becomes part of the memorial.16
Figure 3. Memorial to the
Murdered Jews of Europe,
Berlin, Germany. Photo by
author (2007).
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383
With no site description, the “non-representational” form of the Memorial to the
Murdered Jews of Europe possesses no “official” narrative or interpretation. Peter
Eisenman, the architect, stated at the opening ceremony that a key purpose of the
memorial was to allow “future generations to draw their own conclusions. Not to
direct them what to think, but allow them to think.”17 Having no single entrance,
no centre, no endpoint, and no explanation, the memorial stands today as a
prompt for individual interpretation. This architectural awareness, that the needs
and challenges that face society change through time, is met through the central
aim of the memorial by the invitation to self-reflect.
Indicating the importance of historical layers within the memoryscapes, Paul
Spiegel, President of the Central Council of Jews in Germany, stated at the opening
ceremony of the memorial: “without historical memory, without the authentic
places of annihilation, every abstract memorial will, in the long run, lose its effect
as a sign against forgetting”.18 The Memorial to the Murdered Jews of Europe,
when considered within the wider memoryscape of Germany today, stands as a
central point of remembrance: “May it contribute to keeping alive the memory
which threatens to grow dim as the voices of the contemporary witnesses to the
Holocaust fall silent.”19
Representation and the interpretation of memory—Cambodia
For Cambodia, the official interpretation of memorials developed within the post-
genocide period was put forward by the Vietnamese/Cambodian government
of the time to display evidence and seek approval for Vietnam’s invasion and
subsequent occupation of the war-torn nation.20 Mai Lam, the Vietnamese war
crimes researcher involved in creating both national memorial sites—the Tuol
Sleng Genocide Museum (Figures 4 & 5) and the Choeung Ek Memorial Centre
(Figures 6 & 7)—constructed an official memory for Cambodia. The memorial
sites “encouraged viewers to make connections between the DK [Democratic
Kampuchea] regime and Tuol Sleng on the one hand, and Nazi Germany … on
the other”.21
With little change to the memorial sites over the past 20-30 years this
official narrative continues to direct interpretation of the national memorial sites
today. Strongly orientated around the preservation and documentation of first-
hand evidence—victim remains, clothing, torture equipment, mass graves, and
photographs are displayed as central features—the genocide memoryscape of
Cambodia is a clear illustration of instructive didactic representational memory. As
such, individuals, whether an international tourist or a local citizen, have limited
opportunity for individual interpretation.
Connecting with Tragedy Through Landscapes of Memory: Memorial Design, Tourism, and the Post-Genocide Memoryscapes of Cambodia, Rwanda, and Germany — Shannon Davis and Jacky Bowring
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Figure 4. Tuol Sleng Genocide
Museum, Phnom Penh,
Cambodia. Photo by author
(2007).
Figure 5. Portraits of S-21
prisoners displayed as a central
focus within the Tuol Sleng
Genocide Museum, Phnom
Penh, Cambodia. Photo by
author (2007).
Figure 6. The Memorial Stupa at
Choeung Ek houses the skeletal
remains of 8,000 exhumed
victims of the 1970s genocide.
Choeung Ek Genocidal Centre,
Cambodia. Photo by author
(2007).
Figure 7. Interior view of the
Memorial Stupa, Choeung Ek
Genocidal Centre, Cambodia.
Photo by author (2007).
Interpretation and the representation of memory—Rwanda
Also strongly orientated around aspects of presentation, documentation, and
education, the Kigali Memorial Centre in Rwanda (Figures 8 & 9) was designed by
a United Kingdom-based genocide prevention charity in conjunction with the Kigali
City Council. Today the memorial is a place to bury the dead (258,000 victims
of the 1994 genocide rest within the grave terraces). It is a place for family and
friends to mourn the victims, and also for visitors to learn about the process and
reality of genocide, both local and global.
The memorial states an official aim to educate Rwandans about the processes
of genocide in a hope to prevent its return both in Africa and the world. Sarah
Steele states:
… the direct participation of Western consultants and Holocaust survivor artists in
the construction of the site, the integration of tri-lingual [Kinyarwandan, English
and French] exhibits and the inclusion of materials that seek to involve and engage
an international audience suggests that it is not simply an unintended product of
Western participation in the building of the Centre, but rather a reflection of a desire
to engage a broader visitor base.22
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This approach deconstructs the genocide in Rwanda as a “tribal” problem, “By
highlighting that genocide is not a symptom of African barbarity, but rather a
violence that has been perpetrated in many societies” seeking to “break down
ethicised narrative”.23 Attempting to squash any remnants of genocide ideology
within the nation, the Rwandan government and Aegis Trust were acutely
conscious of creating a representational memorial that educated on the overall
process of genocide, the facts and figures, the personal stories and narratives,
and also the international context of genocide during the twentieth century. The
government, in attempting to stem the flow of genocide ideology, is actively
working to create a genocide education programme which will eventually be aided
by the educational facility of the Memorial Centre.
The “official interpretation” of these national memorial sites put forward by
the respective governments of Cambodia and Rwanda has dominated the memorial
form, and therefore the experience and interpretation, of Western visitors to these
memorials through the site design and information provided.
Figure 8. Main exhibition
building, Kigali Memorial
Centre, Kigali, Rwanda. Photo
by author (2008).
Figure 9. Mass Grave terrace,
Kigali Memorial Centre, Kigali,
Rwanda. Photo by author
(2008).
Set alongside these strong official narratives and the didactic, representational
nature of the memorial form, the national memorial sites of both Cambodia and
Rwanda also elucidate clearly a visual and spatial relationship to the Western
treatment of memorialising the Jewish Holocaust. The sites therefore transform a
distant event for many visitors into one that is more “comprehendible”—through
“pre-understanding”. Termed “cues to connect”, the concept of placing an
unfamiliar cultural expression within a frame of familiarity for the viewing public
is one based on Joan Nassauer’s “cue to care”.
She illustrates how, when placed within a social landscape of “care”,
ecologically valuable habitats become visible through the frame of human
intention, and culturally acceptable through the familiar cultural language of a
tended landscape.24 Nassauer realised that to get people to engage with a site, it
was necessary to have something familiar for them to identify with—a cue.25 Used
within this research, the term “cues to connect” defines those design strategies
or site features at genocide memorials in Cambodia and Rwanda that (either
consciously or unconsciously) engage Western visitors by placing the “distant” or
“less familiar” history expressed at these sites within pre-understood and culturally
acceptable “Western” frames.
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In this way, the represented narrative of memorial sites in these two countries was
seen to become more accessible to the Western visitor. For example, the octagon
is an architectural symbol that crosses both the Jewish and Christian faiths, where
the eight-sided form has manifested itself in religious representation in a range
of ways throughout time. In the Jewish faith, eight is the number that symbolises
salvation and regeneration, and is associated with the eighth letter of the
Hebrew alphabet called ‘Chet’ which has the symbolic meaning of “new birth”
or “new beginning”.
In early Christianity, eight was the number which symbolised the resurrection
of Jesus Christ and the formation of the New Covenant. The eight-sided form can
today be seen prominently in European religious architecture, and also in religious
forms such as the church font used in baptising Christian children. In relation to
genocide memorialisation, the octagon is a prominent form in the architecture of
many genocide memorial sites including: the “Hall of Remembrance” at the U.S.
Holocaust Memorial Museum in Washington DC, Beth Shalom—the U.K. Holocaust
Centre; and the Kigali Memorial Centre, Rwanda (Figure 10).
Examples, where the “less familiar” history of Cambodia and Rwanda is seen
to become more accessible to the Western visitor through pre-understood cultural
frames (particularly those commonly seen in the memorialisation of the Jewish
Holocaust), are numerous. These include the display of victim clothing and
genocide artefacts, the lists of victim names engraved into stone walls, rooms of
victim photographs, the emotive horror of the display of mass graves, the direct
connection made through comparative exhibitions such as the “Genocides of the
World” exhibition at the Kigali Memorial Centre, and the emotive wording used in
on-site information boards.
Figure 10. The octagonal
architectural form plays
a prominent role in the
symbolic language of the
Kigali Memorial Centre, Kigali,
Rwanda. Photo by author
(2008).
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The act of providing (intentionally or not) on-site Western “cues to connect”
is a significant aspect of memorial form in both Cambodia and Rwanda, and
indeed plays an important role in the international memory of genocide. The case
study sites of the Tuol Sleng Genocide Museum and the Choeung Ek Genocidal
Centre in Cambodia, and the Kigali Memorial Centre in Rwanda, provide
powerful experiences for the Western visitor. These facilities direct an interpretive
perspective through their representational memorials that encourages a global
connection to these places and people through the development of pre-understood
Western frames.
Particular examples of this “connection” are seen in the visitor book entries at
the Tuol Sleng Genocide Museum. With the terrorist attacks of 9/11, and the West’s
“war on terror” in Afghanistan and Iraq, the tone of entries in the visitor books
speak of a globalised world burdened by the reoccurrence of tragic actions. It
also illustrates how international visitors connect with the site through “Western”
events and memories. For example, one visitor wrote in 2004: “The USA supported
the Khmer Rouge. Now they have their own S-21 in Guantanamo where they keep
and torture people without trial.” Another, from Ireland, commented in 2003:
“Cambodia will never move forward unless they deal with this history. Why don’t
the big shots like Bush and Blair help, instead of starting another war?”
The post-genocide memoryscapes of Cambodia and Rwanda today act as
repositories of meaning—potent containers of memory. For Western tourists,
corporeal artefacts common to all human civilisations (such as skulls, bones, and
clothes presented on-site in these “foreign” nations) cross traditional cultural and
linguistic boundaries. They connect the “human” self to site and context through
the intrinsic reality of death and what it is to be human. Vitally important to the
landscape of memory, these sites are likely to always be sacred places within
post-genocide nations. As is seen today, however, with the hopes and expectations
of Berlin’s Memorial to the Murdered Jews of Europe, a “new” generation of non-
representational memorials, dedicated to the practice of individual interpretation,
may have the greatest ability to prompt self-reflection—to have “meaning”.
The German memoryscape of genocide, where the informational didactic
layers of “architectural parlante” offered by such representational memorials as
Sachsenhausen, are today layered with a non-representational memorial space
for “willed participation” with the creation of the Memorial to the Murdered Jews
of Europe. The physical embodiment of genocide memory within the memorial
enhances its potential to be sustained. Although this research indicated that
Western visitors do engage with the existing representational memorial landscapes
of Cambodia and Rwanda, restrictions on the interpretative qualities expressed at
these sites sees a vulnerability in their long-term sustainability—in their enduring
ability to speak through time and culture—as the needs around them change.
Arthur Danto, philosopher and art critic, wrote: “We erect monuments so that
we shall always remember, and build memorials so that we shall never forget.”26
As the World War II generation disappears, what yesterday and today could be
narrated by first-hand witnesses must tomorrow be passed on through memory.
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Set within the cultural landscape, genocide memoryscapes are today emerging as
key sites of memory in an ever more globalised world. Their role in ensuring the
acts of remembering and not forgetting must rest upon their effectiveness as sites
which prompt meaningful connection with genocide, giving form to the aspiration
of “never again”.
Endnotes
1Brian S. Osborne, “Landscapes, Memory, Monuments, and Commemoration: Putting
Identity in its Place,” Canadian Ethnic Studies Journal 33(3), (2001): 40.2Peter Tonkin and Janet Laurence, “Space And Memory: A Meditation on Memorials
and Monuments,” Architecture Australia 92(5), (2003): 48.3Osborne, “Landscapes, Memory, Monuments,” 40.4William Wishard, “Understanding Our Moment in History: Tapping into the Internal
Renewal Dynamic,” New Renaissance Magazine: Renaissance Universal 11(39), (2002),
accessed November 5, 2011, http://www.ru.org/society/understanding-our-moment-in-
history.html5Serge Thion, Watching Cambodia (Bangkok: White Lotus, 1993), 181-82.66 John Lennon and Malcolm Foley, Tourism: The Attraction of Death and Disaster
(London: Continuum, 2000), 3.7Tonkin and Laurence, “Space And Memory,” 48.8William Whyte, “How Do Buildings Mean? Some Issues of Interpretation in the
History of Architecture,” History and Theory 45 (2006): 154.9Justine Clark, “Criticism,” Architecture Australia 93(2), (2004): 18.10Juan Pablo Bonta, “An Anatomy of Architectural Interpretation: A Semiotic Review
of the Criticism of Mies van der Rohe’s Barcelona Pavilion,” in Anatomia de la
Interpretacion en Arquitectur (Barcelona: Editorial Gustavo Gili, 1974), 72.11Michael Payne, A Dictionary of Cultural and Critical Theory (Oxford: Blackwell,
1997), 440.12Jutta Dommaschk ed., Sachsenhausen Memorial and Museum (Berlin: Stadtwandel
Verlag, 2005) 8.13Dommaschk, Sachsenhausen Memorial and Museum, 12.14Dommaschk, Sachsenhausen Memorial and Museum, 18.15Dommaschk, Sachsenhausen Memorial and Museum, 19.16Astrid Schmeing, “Eisenman’s Design for the Berlin Holocaust Memorial – A Modern
Statement?,” Architectural Design 70(5), (2000): 62.17Peter Eisenman, “Architect,” in Opening Memorial to the Murdered Jews of Europe
10 May 2005 Speeches and Pictures (Berlin: The Foundation for the Memorial to the
Murdered Jews of Europe, 2005), 31. 18Paul Spiegal, “President of the Central Council of the Jews in Germany,” in Opening
Memorial to the Murdered Jews of Europe 10 May 2005 Speeches and Pictures (Berlin:
The Foundation for the Memorial to the Murdered Jews of Europe, 2005), 26. 19Spiegel, “President of the Central Council,” 27.
Connecting with Tragedy Through Landscapes of Memory: Memorial Design, Tourism, and the Post-Genocide Memoryscapes of Cambodia, Rwanda, and Germany — Shannon Davis and Jacky Bowring
389
20Judy Ledgerwood, “The Cambodian Tuol Sleng Museum of Genocide Crimes:
National Narrative,” in Genocide, Collective Violence, & Popular Memory: The Politics of
Remembrance in the Twentieth Century, eds. D.E. Lorey and W.H. Beesley (Wilmington:
Scholarly Resources Inc, 2002), 103.21David Chandler, Terror and History in Pol Pot’s Prison (Chaing Mai: Silkworm Books,
1999), 5.22Sarah Steele, “Memorialisation and the Land of the Eternal Spring: Performative
Practices of Memory on the Rwandan Genocide” (Paper presented to the PASSAGES:
Law, Aesthetics, Politics Conference, Melbourne, 13-14 July 2006).23Steele, “Memorialisation and the Land.”24Joan Nassauer, “Messy Ecosystems, Orderly Frames,” Landscape Journal
14(2), (1995). 25Nassauer, “Messy Ecosystems, Orderly Frames.”26Arthur Danto et al., Wake of Art: Criticism, Philosophy, and the Ends of Taste (Critical
Voices in Art, Theory and Culture), (1st edn), (Amsterdam, G+B Arts International,
1998), 153.
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Biographical notes
Dr Shannon Davis is a lecturer in the School of Landscape Architecture, Lincoln
University, New Zealand. Having worked as a Landscape Architect in the U.K.
undertaking both urban design and environmental planning projects, she returned
to this country in 2006 to complete her PhD. Undertaking doctoral research
investigating post-genocide memoryscapes—memorial landscapes, she spent time
in Cambodia, Rwanda, and Germany conducting field studies exploring the role of
site design in shaping Western tourist experience of genocide memorials. Teaching
papers in design theory, spatial planning, and sustainable design, her current
Connecting with Tragedy Through Landscapes of Memory: Memorial Design, Tourism, and the Post-Genocide Memoryscapes of Cambodia, Rwanda, and Germany — Shannon Davis and Jacky Bowring
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research is focused on investigating sustainability and the rapid urbanisation of the
global south, specifically investigating the design and masterplanning of proposed
“new” cities.
Email: [email protected]
Dr Jacky Bowring is an Associate Professor, School of Landscape Architecture,
Lincoln University, New Zealand, and Editor of Landscape Review. Her research
investigates the intersection between melancholy and memory. She is author of
A Field Guide to Melancholy (2008). Jacky has been successful in a number of
memorial and cemetery design competitions including finalist Pentagon Memorial
(2002), a Cavalier Bremworth Award for a memorial for road workers killed in the
Otira Gorge (2000), and the Holy Trinity Cathedral Memorial Garden in Auckland
(2007).
Email: [email protected]